OF THE ONTARIO
COLLEGE OF ART
1 94 1 - 1 94 8
OF THE ONTARIO
COLLEGE OF ART
1947 - 1948
Digitized by the Internet Archive
in 2012 with funding from
The Ontario College of Art & Design - University of Toronto Libraries
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ONTARIO COLLEGE OF ART
Fred. H. Brigden, r.c.a., o.s.a., Chairman
F. S. Rutherford, b.sc, Vice-Chairman H. J. Fairhead, Honorary-Treasurer
Fred. S. Haines, r.c.a., o.s.a., Secretary
J. B. Langley, m.r.a.i.c.
Peter Brieger, ph.d.
H. J. Fairhead
Mrs. de Bruno Austin
Martin Baldwin, b.sc.
Fred. H. Brigden, r.c.a., o.s.a.
Kenneth K. Forbes, r.c.a., o.s.a.
E. A. Hardy, o.b.e., d.paed.
F. H. MARANI, O.B.E., F.R.A.I.C, A. R.C.A.
H. L. Rous
J. Ardagh Scythes
J. I. Simpson J. F. M. Stewart, b.a.
John Westren Melville White
Chas. Goldhamer, o.s.a.
H. S. Palmer, r.c.a., o.s.a.
F. S. Rutherford, b.sc.
F. G. Rolph
Mrs. O. D. Vaughan
Fred. S. Haines, r.c.a., o.s.a Principal
Roberta Murby Registrar
Fredda Kelly Secretary to the Principal
Amy Despard Librarian
W. M. Mounfield Business Administrator
Telephone Elgin 2972
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ONTARIO COLLEGE OF ART
HISTORY. — This year the Ontario Society of Artists celebrates its
seventy -fifth Anniversary — an event of great significance to the Ontario
College of Art, since one of the first acts of that corporate body was to
organize an art school. It was successively known as the Ontario School
of Art y the Toronto School of Art, the Central School of Fine and Indus-
trial Art, until a provincial charter was granted to it in 1912 as the Ontario
College of Art. The College occupied various premises until the Government
erected the present building in Grange Park in 1921. This was fairly
adequate for the work of the College, until, under the stimulus of the
Government a fuller programme was inaugurated in 19^5. In order to
accommodate these increased classes, it was necessary to have more room,
and a building on Nassau Street was acquired to fill the temporary need.
It is hoped when costs become more reasonable that the College will
extend its building at Grange Park bringing all activity under one roof.
AIMS and OBJECTS. — Our object is to produce artists, designers and
craftsmen, fully equipped after a four year diploma course, to enter
any of the Fine, Graphic or Industrial Arts. We feel it is impossible to
design specific articles without knowing how these articles are constructed.
Today it is increasingly important that designers know not only how
objects are created by hand, but also how they ore produced in quantity by
the machine. With this end in riew we hare opened workshops in Wood-
working, Pottery, Textiles, Metal Work, and Leathercraft. It is our belief
that a </ronp of energetic and creative painters, designers and craftsmen
working together after this training, could translate our flora and f anna,
our Canadian environment into an unique artistic idiom. Realizing its
potentialities as the visual laboratory for industry, Canadian manufac-
turers are increasingly supporting the College with scholarships for our
students and employment for graduates.
Fred. S. Haines.
DESIGN SCHOOL, NASSAU STREET
OUTLINE OF COURSES
First Year Basic page 8
Drawing and Painting " 10
Commercial Art " 12
Design " 14
Interior Architecture " 16
Etching, Drypoints, Aquatints " 20
Students' Work . " 21-28
Pottery " 29
Design in Wood " 30
Metalwork and Jewellery Design " 32
Research Studies " 33
General Information " 34
Calendar — Terms of Admission " 37
Teaching Staff "39
Awards and Scholarships " 43
Basic Year modelling class.
directed by Sydney H. Watson, O.S.A.
This introductory course provides intensive training in drawing and the
fundamentals of art appreciation and practice and acquaints the student
with the high standards of the professional fields of artistic endeavour
by which he can assess his ability to proceed into a specialized field.
Each subject is developed through progressive exercises from the ele-
mentary to the more advanced conception thus providing a sound training
in observation, historical background, research from his own environment,
compositional analysis and synthesis and a knowledge of form; all basic
requirements for his acceptance into a specialist course.
ARCHITECTURAL DRAWING. The handling and care of instruments; free-
hand and mechanical perspective drawing applied to basic architectural
forms of our environment and the study of shades, shadows and reflections.
COLOUR. Exploration of the expressive and representational aspects of
colour through a study of light and colour intensity, area shape, placement
and perspective and a survey of colour systems.
COMPOSITION. A study of spatial relationships, pattern, planes, move-
ment, contrast, texture and rhythm, devoting the last third of the term to
DESIGN. Investigation of the power of the simple line and form relation-
ship of line and areas in the division of two and three-dimensional space;
the system of repeat pattern and applied design to all industries.
DRAWING. Commencing with the three-dimensional forms, the cube,
sphere, cone, cylinder and pyramid studies are made in pure line, expressive
line and value, at first separately and later in combination, progressing
gradually from the simpler objects of everyday life, into the study of mass
in the costumed figure in the later stages.
LETTERING. To arouse an appreciation of lettering as a creative work while
building an intelligible basis for future exploration into the many lettering
LIFE. Analysis of the human figure stressing rhythm, action proportion and
the development of form, concluding with the elements of anatomy.
MODELLING. To develop an appreciation and understanding of three-
RESEARCH I. To develop a method of doing analytical research on the
historic works of man and thus build up a keen interest in relating tra-
ditional ornament, decorative design and pattern to the society which
developed it, using the material thus acquired as the basis for composi-
RESEARCH II. To learn to gather documentary material on the contemporary
environment and materials for a specific purpose, and to develop self-reliance
and a sense of responsibility by working on-the-spot, in public, under less
favourable conditions to those found in the studio.
After he has completed his Basic
Training, this student will select
one of the nine Courses des-
cribed in the following pages.
Painting from life.
DRAWING AND PAINTING
directed by George Pepper, A.R.C.A., O.S.A.
The drawing and painting course is designed to develop artists of sound
ability and of high aesthetic standards. The essential requirements for
success in the course are natural ability, self -discipline and diligence. The
student is led through a series of steps, from simple problems to those of
greater complexity, as knowledge and skill increase, which culminate in
the painting of the figure.
DRAWING. Emphasis is placed on drawing, especially from the life model
and the costumed figure. Direct drawings with the pen are made to develop a
sensitive, expressive line. Tone drawing is studied as an approach to painting.
STILL- LIFE. Beginning with the second year, still-life groups are painted
in both oils and water-colour, for the study of colour, tone and texture.
COSTUME. The costumed figure is painted by third and fourth year students.
PORTRAIT. Third and fourth year students paint portraits of models
selected for their diversity of types.
LIFE PAINTING. Beginning in the third year, students paint from the
life model. The aim is to achieve complete realisation of form through
line, tone and colour.
COMPOSITION. The art of organizing imaginatively the pictorial
elements in a picture is stressed throughout the course. Students of all
years are required to submit\for criticism a composition every week. In
this work they will apply the principles learned through the study of the
finest compositions of the great schools of painting.
MURAL PAINTING. In line with the growing public interest in Mural
painting, instruction is provided for qualified students in the historical
background of the subject, the theory of traditional methods and their
practical application under modern conditions.
MUSEUM STUDY. An appreciation of good form and style is cultivated
through the study of outstanding examples of the art of past civilizations.
TECHNIQUES AND MATERIALS. Sound technical knowledge is essential
for the artist in order that his picture may have lasting worth. The student
is given, through lectures and practical exercises, a thorough understanding
of the materials he uses, pigments, oils, resins, emulsions, etc. He is taught
how to prepare his own grounds for painting, and how to carry his work
through to completion in oil, egg tempera, or 'mixed technique'.
OPTIONAL SUBJECTS. Students are required to study either modelling
or etching as an adjunct to their course.
OUTDOOR CLASSES. When weather permits, certain classes in drawing
and painting are held out of doors. On a few occasions during the school
year, classes go into the country for the painting of landscape subjects.
directed by Fred Finley, O.S.A.
The variety and intensity of training in this course is designed to fit the
graduating student for an immediate place in the field of Commercial Art.
Instruction not only includes the necessary art training and a study of repro-
duction methods, but also a comprehensive survey of Advertising as a whole.
This preparation has the advantage of making less obstrusive the distinc-
tion between learning and doing, between the problem of completing a
class assignment and that of producing a piece of work acceptable to tin-
FIGURE DRAWING. Drawing from life in line, tone and colour. Lectures
and demonstrations to illustrate the influence of anatomy on exterior forms.
LETTERING AND TYPOGRAPHY. The basic letter forms and the alphabets
derived from them. The understanding and use of modern type faces.
12 ADVERTISING LAYOUT. Included in this subject are:
a. A. survey of Advertising, its purpose, its importance.
b. The merchandising problem. Customer research.
c. The preparation of advertising layouts. Sales ideas and techniques.
Condiiions approximate those of the Commercial Studio.
Students see practical demon-
strations of all processes of
d. Direct Mail Advertising. Booklets, folders, Campaign planning.
e. The processes of reproduction. This study is furthered by tours of
Photo-engraving plants where each student is given the opportunity to
see a demonstration of the process for which his class assignments are
ILLUSTRATION. Elements of structure, action, movement, expression. The
study of folds and textures. Principles of composition. Techniques and 1
work in the following mediums: pen, dry brush, scratch-board, coquil-
board, pencil, crayon, wash, watercolour, gouache and coloured inks.
DESIGN. The creation and production of repeat patterns and their appli-
cation to problems of modern packaging. Instruction in methods employed
in preparing the designs for reproduction.
COLOUR THEORY AND PRACTICE. Problems based on the Munsell Sys-
tem give the student the colour background necessary for his subsequent
work in design and illustration.
MECHANICAL DRAWING. Setting up buildings, furniture and other ob-
jects in perspective and rendering them for reproduction in various mediums.
MUSEUM RESEARCH. The study of Costume against the background of
Man's social history. Research designed to stimulate the creative processes
of the student.
WORKSHOP PRACTICE. The production of working drawings under work-
shop conditions. In this period the student carries to conclusion, projects
planned in the layout and lettering periods.
directed by John Martin
This course pertains to no particular field of applied design, but, through
the application of the fundamental principles of proportion, rhythm and
balance, covers practically all known usages. The graduate from this
course will enter the field of design with a sound knowledge of what design
is, and of how to apply it in industry.
GENERAL APPRECIATION OF DESIGN. From his preliminary work in the
basic year the second year student is directed towards a general appreciation
of design and its industrial application.
FIELDS OF DESIGN. The fields of design for printing, weaving, architec-
ture, book design, jewellery and metal-work are given primary exploration.
LETTERING. Study is supported by instruction in traditional letter forms
such as Roman and the Gothics.
COLOUR THEORY AND PRACTICE based on the Munsell System to give
the student the necessary background for his subsequent work.
COSTUME is dealt with in museum research and in the study of con-
LIFE DRAWING. The study of the structure proportions and forms of
the human figure.
DRAWING AND PAINTING are included in the third year during which the
student will study the media in which the design will actually be produced.
PRACTICAL WORK. Some practical work will be done in the preparation
of printed fabric, pottery decoration, wall paper, etc. Work will also be
done in theatre decoration, costume and fresco in miniature.
THREE-DIMENSIONAL DESIGN will be explored. Only students of the
highest standing will be passed into the fourth and final year.
TECHNOLOGICAL DEVELOPMENT. From this time on, the student will
devote himself to technological and aesthetic development. He will give
the final polish to his techniques in design, colour, and application.
Thus prepared, the student may enter the industrial field fully confident
of himself as a designer.
Design applied to various class
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Design for a modern interior.
directed by Gustav Hahn, R.C.A., O.S.A.
The purpose of this intensive course is to provide a thorough training in
the fundamentals of architectural design for the student who shows a
natural capacity for creative work and a susceptibility to new ideas, as a
basis for the creative study of the complete contemporary interior, both
domestic and industrial.
The students' prime consideration is to learn how to co-ordinate his think-
ing, his work, and his time in order to develop the facility to collaborate
with architects, clients, technicians and workmen.
All aspects of his work from the initial steps of research and visualization,
right through the progressive stages of theme development, rendering and
detailing up to the final presentation with specifications, working drawings,
blueprints and models, are presented in a manner that stimulates initiative
and a deep sense of personal responsibility.
ARCHITECTURAL CONSTRUCTION. Basic terminology; elementary archi-
tectural drawing; measured drawings to scale; full sized working drawings;
mouldings; ornament and materials.
FURNITURE DESIGN AND CONSTRUCTION. Workshop projects; working
drawings; anatomy related to furniture construction.
HISTORICAL RESEARCH. To develop a discreet appreciation of tra-
ditional work through lectures, prescribed reading, essays, measured draw-
ings from Museums, interior renderings and first-hand contacts with fine
architectural examples and documents.
PROFESSIONAL STANDARDS. Practical survey of related trades to observe
manufacturing limitations, and business procedure; a study of client
CONTEMPORARY INTERIOR DESIGN. On-the-spot research trips, lectures
by professional experts in lighting, textiles, furniture, upholstery, glass,
wallpaper and plaster; detailed interior designs based on plans and ele-
vations to develop a knowledge of space composition; essentials of mer-
THREE DIMENSIONAL DESIGN. Architectural realization of space com-
FLAT DESIGN. To study the qualities of motion, time and emotions in the
division of two-dimensional space related to textiles, rugs, wallpaper,
tiles, leather and linoleum, and its application to furniture and upholstery.
COLOUR. First year theory in separate class; second and third years
colour psychology in lecture form with application in interior designs.
LIFE DRAWING. Stressing proportion, anatomy and the figure in design,
two years only.
FREE RENDERING. In ink, gouache and watercolour, 2nd and 3rd years.
PERSPECTIVE. Applied to interior and furniture renderings.
Interior architecture class.
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directed by Emanuel Hahn, R.C.A., S.S.C.
The object of this course is first, to lead the student to professional standing
in the fine arts and the application of sculptured form to the needs of industry ;
second, to develop a knowledge of form fundamental to the arts in general
and the crafts.
In order to accomplish these aims, the student is directed to an understand-
ing of the problems, principles and materials of sculpture. He will be
taught the structure of living things and the techniques of sculpture in the
round and in relief. While the training he receives will prepare him for a
career in Fine Art, he will not neglect the possibilities of the industrial field.
Stress is laid on the needs of the various trades for sculptural models.
Problems are set, along with assignments for making models to serve specific,
practical purposes. Mechanical facilities are provided for carrying out
these experimental projects in their final materials.
Instruction is given in the following subjects:
ARMATURES. The methods and materials of armature building.
MATERIALS. A thorough exploration of the properties and possibilities of
the sculptor's materials both traditional and modern.
MODELLING FROM LIFE. After the basic first year training in three
dimensional form, the student begins to model the figure in clay from the
ANATOMY. The series of Lectures in Anatomy is compulsory for all
students of sculpture.
STRUCTURE. Coincident with the Anatomy instruction is the study of the
human structure in relation to outward form and movement.
MOULDING AND CASTING, (a) Plaster waste moulds (b) Moulding for
multiple reproduction in plaster, gelatine, latex (rubber) etc. (c) The Lost
wax process (d) Papier Mache (e) Sand moulding and metal casting.
ADVANCED STUDENTS. In order to develop and encourage creative
talent, third and fourth year students are allowed greater freedom of ex-
pression and choice of subject matter and material for their assignments.
Time allowances and manner of instruction and criticism are adapted to
individual needs as they arise.
Industrial sculpture and archi
The efching studio.
ETCHING, DRYPOINT, AQUATINT
directed by Nicholas Hornyansky, A.R.C.A., O.S.A.
This course embodies all the techniques of intaglio plate making. Advanced
students exhibit with the senior printmaker society of Canada and take part
in its coast-to-coast travelling exhibitions. A recently organized collection
of prints produced in this course is now touring a number of Provincial
I [J Libraries.
PREPARATION OF GRAPHIC MATERIAL in the tradition of the medium
to be employed.
GROUNDING THE PLATE. Experiments in the use of the various grounds,
wax grounds, resin dusted grounds for aquatints, etc.
BITING THE PLATE. Research into the properties of mordants used.
THE PROCESSES. Etching, Drypoint, Softground, Aquatint, Colour Aqua-
tint, Gravure, Engraving.
TECHNICAL ACCESSORIES. Students are taught to make various techni-
cal accessories such as Etching and soft grounds, Varnished, hand-made
blacks, adaptable hand wipe tonal inks and multicolour printing inks.
As print and plate making stands midway between pictorial fine art and
the crafts, the newly introduced Duplicraft method allows the imprinting
of specially etched plates onto leather, felt, textiles, and plastics, the
transprint of relief etching decoration on metal and the transfer of etched
adornments onto ceramics.
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BASIS 7*9 IN 7COLOURS
TEXTILES, DESIGN IN WOOD
POTTERY, METALWORK, JEWELLERY AND
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Stacking the Kiln.
directed by Gladys Montgomery
Throughout the ages Pottery has been an important part of everyday living.
The object of this course is to train the student in the craftsmanship of this
ancient art and to give him an outlet for his creative spirit in the production
of articles of usefulness and beauty.
Instruction in the Pottery course includes:
DRAWING, THEORY OF COLOUR. For the understanding of form, colour
and texture as related to ceramics.
DESIGN AND FUNCTION. Investigation of the function. Developing the
design out of the function.
HISTORY OF POTTERY. Museum Study.
THE PREPARATION OF CLAY. Coiling and hand building, tooling and
throwing on the potter's wheel.
TECHNICAL RESEARCH of clays and glazes, since understanding of the
nature and potentialities of various ceramic materials is essential.
THE KILN. Stacking and firing.
DESIGN IN WOOD
directed by Gordon Yearsley
The graduate will be qualified to enter the furniture industry as a designer,
lie will be competent to design furniture or built-in equipment for homes,
factories and public buildings. He will understand materials, technical
problems, and production methods. He will be able to make perspective
drawings in colour for his client, mechanical drawings for the craftsman,
and to estimate costs.
BASIC FURNITURE STRUCTURE, (a) Cabinet (b) Chair Making.
TRADITIONAL FURNITURE. History and Design.
FURNITURE DESIGN FOR CUSTOM TRADE. Comparison of hand methods
and production technique in relation to cost.
FURNITURE DESIGN FOR MASS PRODUCTION. Study of production
methods and shop practice.
MODERN METHODS AND MATERIALS. Moulded plywood and plastics.
Contemporary design and built-in furniture.
UPHOLSTERY FRAMING AND UPHOLSTERY— FINISHING, COLOURING
AND SURFACING. In addition to the practical training, the student will
receive instruction in life drawing, mechanical drawing, perspective, colour,
three-dimensional design and a study of fabrics.
Workshop facilities include the most modern woodworking equipment.
The workshop is equipped with
the finest of modern power
There is a loom for every student.
directed by Wanda Nelles.
In the Textile Course theory and practice are combined to prepare the
student to contribute to the industrial and commercial field as well as to
create individual objects of utility and beauty.
Instruction is given in the following subjects in the order shown :
INTRODUCTION TO WEAVING. The study of equipment and counter-
balanced looms. Yarn construction, textures, natural and synthetic yarns
PREPARATION OF LOOM. Basic weaves, Project in cotton, covering simple
method of design. Project of woven colour, spectrum. Project in wool of
designed stripe and plaid, including cord weaves and tapestry technique.
Tweed project using twills and derivatives.
RELATIONSHIP TO INDUSTRY. Research in Mills. Linen project covering
ornamental techniques. Cotton project with alternately coloured warp
yarns for double width, circular derivatives and all possible variations.
Linen weaves. Cotton pattern weaving, weft design. Rug samples all pile,
semi-pile and flat surface designs. Tweed yardage in composition of colours.
ADVANCED TEXTILE DESIGN. Sectional warpings, fly shuttles, damask
weaves, printed warps, drapery fabrics, upholsteries.
METALWORK AND JEWELLERY DESIGN
directed by Harold G. Stacey
The purpose of this course is to develop designers and craftsmen in the
separate fields of general decorative metal-work and of jewellery or in a
combination of both. The graduate will thoroughly understand the tech-
niques of metal-working and an appreciation of good design and fine
HISTORICAL RESEARCH. The tradition and development of the craft.
MODELLING. Mechanical and freehand drawing. Appreciation of
the problems of form.
THREE-DIMENSIONAL DESIGN. The construction of models.
MATERIALS. Investigation of the properties of the various metals and
EQUIPMENT. The use and care of hand and power tools.
METHODS. Shaping, forming and cutting metals including elementary
presswork and casting.
DECORATIVE TREATMENTS. Etching, chassing, repousse, enamelling, plat-
ing and colouring.
STONE CUTTING AND POLISHING.
Theory and Practice, design
and execution go hand in hand.
MUSEUM RESEARCH STUDIES
directed by Miss Ruth Home, M.A.
A course of lectures designed to provide a classical background to the various
art courses offered by the College to direct research into the traditional works
of man and to stimulate the creative processes of the student.
In the basic year the lectures are of a general nature to serve as a basis for
future specialization. In the later years lectures and research are directed
towards the specialist fields. Research studies throughout the entire course
consist of a one hour lecture a week followed by research under the combined
supervision of the lecturer and the Department in which the student is
The material covered in the lectures is as follows:
CULTURES OF THE MEDITERRANEAN; Egypt, Mesopotamia, Greece and
Rome. Reference will be made to repeat patterns, architecture, sculpture,
pottery, textiles and furniture.
MATERIAL CULTURES OF BYZANTIUM, The Near East and Europe from
the 5th Century, A.D. until 1500 A.D.
Material cultures of Europe and the Western Hemisphere from 1500 until
The primitive peoples of the world.
The cultures of India, China and Japan.
The Ontario College of Art (formerly The Central Ontario School of Art
and Design, which was founded in 1876) was incorporated by Act of the
Provincial Parliament in 1912.
The government of the College is entrusted to a Council; the majority is
appointed by the Lieutenant-Governor-in-Council, and the rest by various
Provincial organizations interested in Art.
THE CLASSES. Day classes for the general session are open to men and
women students. Intending students are requested to give particulars of
age, education and previous training in art. They must present satisfactory
evidence of their interest and ability. It cannot be too highly stressed
that students must have an absorbing interest in art and a capacity for
SPECIAL CLASSES. EVENING CLASSES in portrait painting are conduc-
ted on Monday, Wednesday and Friday evenings, 7.30 to 9.30 by F. S.
Challener, R.C.A., O.S.A.
PORTRAIT PAINTING: A portrait painting class for professional artists is
held on Saturday afternoons 2.00 to 5.00 p.m. under Archibald Barnes,
SCULPTURE: Evening classes in sculpture are conducted on Tuesday and
Thursday evenings, 7.30 to 9.30 by Emanuel Hahn, R.C.A., S.S.C.
BOOKBINDING: Instruction in bookbinding in its various forms and
materials is given by Miss Amy Despard.
LEATHERWORK: Instruction in tooling, modelling and manipulation of all
types of leather, pattern making, and projects involving a combination
of leather with metal or wood are given to special groups by Miss Frances Neil.
Further information concerning the above special classes may be obtained
by application to the Registrar.
POST-GRADUATE COURSE. Post-Graduate courses are free to graduates
of the College. The course must be taken in the year immediately following
the student's graduation year. The graduate, subject to the approval of
the Principal, will decide upon the programme of work to be pursued. This
period of study is considered by the College to be mainly one of practical
effort on the part of the graduate about to enter professional life. The
necessity to further develop technical ability is stressed upon the graduate
and his work is arranged with that point in view.
LECTURES. Through the College year lectures are given on the following
subjects: The Technique and Materials of Painting, Artistic Anatomy,
Architecture, Design, and Advertising.
THE ROYAL ONTARIO MUSEUM. Lectures and Research Studies under
the direction of Miss Ruth Home, M.A., assisted by Mrs. Dorothy Hoover,
B.A., take place at the Royal Ontario Museum, one of the world's greatest
museums. There the student is extended the privilege of intimate study
where he may come in fruitful contact with the great art of the past. The
famous Chinese Collection is a storehouse to thrill the student, and the
varied collections of art objects and specimens of natural history make
the museum one of the most prized fields of art study.
THE ART GALLERY OF TORONTO, next door to the College, has a fine
permanent collection of Art which, together with the many periodical
exhibitions of painting and sculpture, offers the student an unrivalled
opportunity to study the works of the masters as well as those of the great
THE COLLEGE LIBRARY contains a valuable collection of Art books and
periodicals available for study and reference. The College welcomes con-
tributions to its Library, such as that of Scythes and Company Limited,
which is an annual gift of up to Six Hundred Dollars a year for the purchase
of reference books on Art subjects.
AWARDS. The College awards Diplomas of Associates of the College,
Scholarships and Prizes arranged for and posted in the College for com-
petition, and Certificates. These are regulated as follows:
The Governor-General's Medal is awarded each year for general proficiency
in advanced work, or in one particular subject.
The Lieutenant-Governor's Medal is awarded each year \'<>v Proficiency in
Ontario College of Art Medal: is awarded each year to students of out-
SCHOLARSHIPS: for free tuition in the College are awarded to students in
First, Second and Third Years.
DIPLOMAS OF ASSOCIATESHIP OF THE COLLEGE: authorizing the use
of the letters A.O.C.A. after the names of the holders, are awarded upon
completion of a four year course, covering one or more of the ten Depart-
ments of the College, provided the student has fulfilled all conditions of
the course, and that a satisfactory standard of quality has been achieved.
All awards are made by judgment of the Staff sitting as a Board, and all
such awards are made upon the basis of work done by the student during
the year, and results gained in examinations, both practical and written.
36 STUDENT ACTIVITIES
THE ONTARIO COLLEGE OF ART STUDENTS' CLUB: This is a student
organization for the development of the student social life within the College.
It undertakes the supervision and upkeep of the Student's Common Room
and arranges all social affairs, dances, student exhibitions, theatrical enter-
tainments and dinners. A notable and artistic annual event is the College
Masquerade Ball conceived and designed in its entirety by the student
body. The ball-room is decorated and costumes designed in the styles of a
chosen period; the work being done as a class problem in design and colour,
mural decoration and applied art.
TOURING EXHIBITION: A recently organized exhibition of prints produced
by the students of the Etching course under Mr. Hornyansky is now
touring on a Provincial Library chain, built up and managed by the students.
CAFETERIA AND COMMON ROOM: A cafeteria is operated where
students may obtain lunch and refreshments at moderate prices. The
cafeteria is open every school day. It is in close connection with the
Students' Common Room which is under the management of the Students'
Club and has been furnished and maintained bv them.
CALENDAR FOR YEAR 1947-1948
DAY COURSES— ONTARIO COLLEGE OF ART
First Term begins September c 29th, 1947
Closes January 31st, 1948
Second Term begins February 1st, 1948
Closes May 31st, 1948
Registration Week — September 22nd to 26 inclusive.
Thanksgiving — From Friday before Thanksgiving until the following
Christmas — From December 20th, 1947 until January 5th, 1948.
Easter — From Thursday before Good Friday until the following Tuesday,
TERMS OF ADMISSION
RULES AND REGULATIONS
1. Students are admitted on an implicit
understanding that they will be of good
behaviour, will work as directed, be regular
and punctual in attendance, observe all
regulations, posted or announced, and pre-
sent themselves for examinations relating to
2. The Principal may suspend any student
whose conduct or influence appears to be
injurious to the discipline and interest of
3. In the case of absence, from sickness or
other cause, beyond three days, a communi-
cation must be sent to the Principal.
4. The student who has the highest per-
centage of attendance in the classes of the
division for which scholarships are offered,
will have preference when two or more are
equal in examinations.
5. Students are not allowed in the College
at other than working hours without per-
mission from the Principal.
6. Only students of the College may enter
class rooms during working hours, and only
during recess may students visit class rooms
other than those where they are working.
7. No student may alter the prescribed
course or attend classes of other years with-
out the sanction of the Principal.
8. Smoking is not permitted anywhere in
the College during class hours, but is allowed
at certain times and places in accordance
with posted regulations, subject to change
or cancellation at any time.
9. Facilities are accorded the student for
reasonable amusement and recreation. For
this purpose, committees of the Students'
Club are given authority to act under the
general direction of the Principal.
10. Students desiring to bring guests to the
dining room, or for any other purpose must
obtain permission from the Principal.
11. No work will be exhibited at the monthly
or annual exhibition which has not been done
by a student at the College during the year.
12. The Principal and staff reserve the right
to retain permanently for the College, prize
drawings and other works suitable for record,
example and exhibition.
13. Fees are payable in advance when the
student registers and are not returnable.
14. Fees paid by students whose further
attendance is prohibited for violation of regu-
lations are forfeited, and scholarships may
be cancelled without notice, for non-atten-
dance or misconduct.
15. Students must obtain a 90% attendance
record and fulfil all financial obligations.
16. Students must turn in 90% of the work
assigned during the school year.
17. Former students or persons not regis-
tered in the College must not make use of
the College premises without permission of
18. Any student failing to hand in three
projects in any subjects will automatically
forfeit his registration.
19. Students injuring the property of the
College will be held responsible.
20. Students defacing or losing books bor-
rowed from the College Library must pay
for the cost of the books so defaced or lost.
21. The Council of the College cannot be
held responsible for the custody of the pri-
vate property of students, nor can any claim
be entertained in respect of any article left
in the College.
22. Day (lasses terminate at t :.'»() p.m. and
Evening Classes at 9:30p.m. Students musl
leave the College promptly after classes.
Day Classes in the College year are divided
into two terms and all fees are payable
strictly in advance. Students are expected
to give careful consideration to their deci-
sions on entering the College, as fees once
paid are not returnable.
(Including Fees for Student's Club Membership*
For all classes and general
privileges for one year . . . $100.00
For all classes and general
privileges for one term .... $ 50.00
For six half days per week —
one term $ 30.00
NO STUDENT is admitted to classes until
registration is completed by the payment
SUPPLIES used during the course may be
purchased as required at the College store;
these are sold at cost and during the year
would amount to about forty-five dollars.
A fee will be charged in advance for class
supplies for students of crafts and modelling.
LOCKERS. Lockers for supplies may be
secured by students on payment of fifty
cents per year rental. Lockers will be
shared by two students. The key must be
left at the office at the end of the session;
twenty-five cents will then be returned
The College is not responsible for property
in these lockers and all lockers must be
cleared within one week after the closing
PRINCIPAL: FRED S. HAINES, R.C.A.,
O.S.A. Studied at the Central
Ontario School of Art and Indus-
trial Design, and L'Academie
Royale des Beaux Arts d'Anvers,
Belgium, under de Vriendt and
Siebert. Past President of the
Royal Canadian Academy of Arts
and Past President of the Ontario So-
ciety of Artists. Honorary Member
of the Society of Hungarian Painter-
Etchers, member of Chicago Society
of Etchers, member of the Painter-
Gravers of London, England. Repre-
sented in the National Gallery of
Canada, Ottawa, the Art Gallery
of Toronto, Hart House, public col-
lections at Sarnia and Saskatoon,
and in many other public and pri-
JOHN M. ALFSEN, A.R.C.A., O.S.A.
Studied at the Ontario College of
Art, Toronto, L'Academie Royale
des Beaux Arts d'Anvers, Belgium,
and the Art Students' League under
Henry Hayes Miller, New York.
Is represented in the National Gal-
lery of Canada, Ottawa, and the
Art Students' League Gallery,
ARCHIBALD BARNES, R.C.A., O.S.A.
Studied at St. John Wood and
Royal Academy Schools, London,
England. Represented at Hull,
Huddersfield, Oldham, Manchester,
Vancouver and Toronto.
FREDERICK S. CHALLENER, R.C.A.,
O.S.A. Studied at the Central
Ontario School of Art and Indus-
trial Design. Represented in the
National Gallery of Canada,
Ottawa. Canadian War Memorials
and Mural Decorations in Montreal,
Ottawa, Toronto, Hamilton, Winni-
peg and Edmonton. Medals at Pan
American Exposition, Buffalo and
Louisiana Purchase Exposition,
E. GRACE COOMBS, O.S.A. Gra-
duate of the Ontario College of Art.
Studied at the New York School
of Fine and Applied Arts. Repre-
sented in Hart House and many
AMY DESPARD. Graduate of the
Ontario College of Art. Graduate of
course in Occupational Therapy at
the University of Toronto (book-
binding). Studied at the School of
Fine and Applied Art, New York
and in Europe.
FRED FINLEY, O.S.A. Born in
Australia. Came to Canada in
1925. Studied in Australia under
Julian Ashton, in Paris under Paul
Albert Laurens and Henri Desche-
naud, and in Munich under Ludwig
Angerer. Represented in the
National Gallery of Canada,
Ottawa, and in the National Gal-
lery of New South Wales, Australia.
ERIC FREIFELD Born in .1911) in
Russia; early education in Canada.
Awarded Carnegie Scholarship.
Studied Art in London, Paris and
New York. Represented in nu-
merous collections, including the
Brookstreet Galleries, New Bond
Street, British Fine Art Society
and Solomon Collection. Taught
at the Vancouver School of Art.
Member of the Art Students'
League, New York.
FRED HAGAN, C.P.E. Studied at
the Ontario College of Art, Art
Students' League, New York;
Lithography under George Miller,
New York. Formerly Resident
Artist at Pickering College. Mem-
ber of Society of Graphic Art.
EMANUEL HAHN, R.C.A., S.S.C.
Studied at the Central Ontario
School of Art and Industrial Design,
School of Applied Art, Polytech-
nikum and Academy of Stuttgart,
Germany. Represented by work
in the National Gallery of Canada,
Ottawa. Erected Adam Beck and
Hanlan Memorials, Toronto and
GUSTAV HAHN, R.C.A., O.S.A.
Graduated from Royal Wurtem-
berg School of Art and Design,
Stuttgart, Germany. Studied in
Munich and Italy. Instructor in
Modelling and Design in the Cen-
tral Ontario School of Art and
Industrial Design. Instructor in
Design at the Toronto Technical
School. Executed Interior Decora-
tion and Murals in The Provincial
Legislative Chamber, Toronto, in
Council Chamber, Toronto City
Hall, and in numerous Churches
and private houses.
ROBERT S. HERALD Studied at
the Arts and Crafts Guild School,
Berlin, Germany, and later at the
University of Leeds, England.
Served with the Canadian Forces.
RUTH M. HOME, M.A. 1922 B.A.
Modern History, University of
Toronto 124 M.A. in Political
Science. 1928 Lecturer, Royal On-
tario Museum. 1934 awarded
Carnegie Fellowship to study Cera-
mics in England, 1935 Fellowship
in Far Eastern Art and History,
Columbia University. 1938 Awar-
ded the American Association of
Museum Fellowship for study at
the Courtaulds Institute of Fine
Arts. Supervisor of Division of
Public Instruction, Royal Ontario
Museum, 1939-194,5. Since 1940
Lecturer in Department of Fine
Arts, LTniversity of Toronto.
DOROTHY HOOVER, B.A. 1924
Modern History, LTniversity of
Toronto. 1924-28 Lecturer, Royal
Ontario Museum. Past member of
the Canadian Society of Painters in
Water Colour and Graphic Art
NICHOLAS HORNYANSKY, A.R.C.A.
O.S.A., C.P.E. Born in Budapest,
studied al the Academy of Fine
Arts in Budapest, and later in
Antwerp and in Holland. Studied
Colour Aquatint printmaking in
Paris. Represented in many gal-
leries and private collections in
Canada, United Stales and Europe.
JOHN FREELING HUNT. Studied
at Ontario College of Art, in Paris
on Post Graduation Scholarship,
in Italy, Germany and England on
Research Scholarship. Joined staff
of Parson's School of Design in
1935 as instructor in Interior Design
and Research. Taught four years
in Paris, and one year in New York.
Industrial and Interior Designer in
New York and Toronto.
LILY LANGLEY. Studied in Win-
nipeg School of Art and Ontario
College of Art. Instructed at
Teachers' Summer Course, O.C.A.
and Saturday Morning Classes,
JOHN MARTIN, O.S.A. Born and
educated in England. Studied
design under Professors Needham
and Hill (Slade Professor) of Not-
tingham School of Art. Represen-
ted in many collections in Canada
and the United States.
GLADYS MONTGOMERY, Gradu-
ate of the Ontario College of Art
and of the Toronto Conservatory
of Music. Studied pottery under
Cameron Paulin, and at Alfred
University. Represented in the
Syracuse Museum of Art.
STANLEY G. MOYER Graduate
of the Ontario College of Art. Later
studied at Pennsylvania Academy
of Fine Arts, Philadelphia; National
Academy of Design and Art Stu-
dents' League, New York, under
Luks and Bridgman, and portrai-
ture under Cecilia Beaux. Awarded
$500. Fellowship Tiffany Founda-
tion, Oyster Bay; Suydam Bronze
Medal for Life Drawing, National
ROWLEY MURPHY, A.R.C.A., O.S.A.
Studied Toronto Technical School,
Ontario College of Art, Pennsyl-
vania Academy of Fine Arts, Phila-
delphia, Passed Department of
Education Teacher's Course
Hamilton Training College. De-
signer of Camouflage, Royal Cana-
dian Navy. Official Royal Cana-
dian War Artist. Represented in
Pennsylvania Academy of Fine
Arts, Philadelphia and National
WANDA B. NELLES. Studied
weaving at Cranbrook Academy of
Art and with Swedish weaver, Mrs.
Martina Lindhal at Harland,
Michigan ; Penland School of Handi-
crafts and with Anni Albers at
Black Mountain College, N.S.
FRANCES NEIL. Graduate of the
Ontario College of Art. Awarded
the Governor General's Medal for
proficiency at her graduation. In-
structor in Painting at Banff School
of Fine Arts.
HARLEY PARKER. Studied at the
Ontario College of Art under Frank
Carmichael and at Black Mountain
College under Joseph Albers. Mem-
ber Canadian Society of Graphic
ROBERT MAX NORGATE. G r a -
duate of the Ontario College of
Art 1941. Taught in the Art As-
sociation of Montreal and various
minor organizations. Later was
awarded a Scholarship by the Cran-
brook Academy of Art to study
there under the Swedish sculptor
WILL OGILVIE, M.B.E. Studied
at the Art Students' League, New
York, under Kimon Nicolaides.
Member of Canadian Group of
Painters and Canadian Society of
Painters in Water Colour. Taught
Life Composition and Painting at
the Art Association School Mont-
real and was Director of the School
A prior to the outbreak of war. En-
listed in Canadian Army in 1941.
Was appointed Official War Artist
in 1942. Served in the Campaigns
in Sicily, Italy and North-west
Europe. Awarded M.B.E.
GEORGE DOUGLAS PEPPER, A.R.-
C.A., O.S.A. Studied Ontario
College of Art, in England, France
and Italy. Was Publicity Artist
for the Forest Service of Canada,
Department of Interior for three
years. Official War Artist with the
Canadian Forces Overseas. Rep-
resented in the National Gallery
of Canada, The Art Gallery of
Toronto, the Massey Collection, in
Hart House, and in the National
Gallery of South Africa.
HAROLD G. STACEY. Born in
Montreal, Quebec. Studied at Cen-
tral Technical School and with
Rudy Renzius in Toronto. For
several years instructed evening
classes in Metal work at Central
Technical School in Toronto.
DONALD CAMPBELL STEWART,
A.R.C.A., O.S.A., S.S.C. B o r n
1912 Hamilton, Ontario. Studied
at Hamilton Technical School with
John Sloan, Westdale Technical
School w r ith Ida Hamilton, Ontario
College of Art with Emanuel Hahn.
Graduated in Sculpture in 1937
with Lieutenant-Governor's Medal.
He maintained a sculptor's work-
shop in Toronto since 1937.
SYDNEY H. WATSON, O.S.A.
Born and educated in Toronto.
Employed in Advertising Art in
Toronto. Artist-in-residence, Lake-
field Prep School 1942-44. Liturgi-
cal Designer. Director, Canadian
Society of Painters in Water Colour.
ERNEST WICKSEY. Studied at
the Ontario College of Art under
J. W. Beatty R.C.A. and received
personal tuition in Lettering and
Illumination under J. E. H. Mc-
Donald, R.C.A. Designed illumi-
nated addresses presented to the
Duke of Windsor (then the Prince
of Wales), the Queen of Rumania,
the Canadian High Commission in
London, the Lieutenant Governor
of Ontario and Benito Mussolini.
GORDON YEARSLEY. Has been
teaching crafts in schools, camps,
recreation centres for 12 years. His
practical experience in the design-
ing and construction of wood pro-
ducts makes it possible for him to
present his subject from the manu-
facturers point of view.
A R D S AND SCHOLARSHIPS- 194 6-47
Scholarship — Mr. R. S. McLaughlin — One Term Katherine Ross
Scholarship — Miss Florence Black — One Term Suzanne Mess
Scholarship — Mr. J. F. M. Stewart — One Term Patricia Harvie
Scholarship — Mrs. R. S. McLaughlin — One Term Mary Armstrong
Scholarship— O'Keefe's — One Term Christopher Adeney
Scholarship — Ontario College of Art — One Term Margaret McMillan
Frank Bull Anthony Gasbarini Dorothy Greenberg
George Nanos Allan Oddy Beryl Perry
Rolph Pogue William Sloan Gustav Weisman
Christopher Adeney Donald Hutson Beryl Perry
Mary Armstrong Barbara King William Peters
Hugh Brown Samuel Kyba Rolph Pogue
Frank Bull Robert Lawson Francis Reed
Gordon Compton June Loucks George Reid
George Empey Edwin Love Albert Reinhardt
Anthony Fadelle Jack Lowry Katherine Ross
Anthony Gasbarini Wallace MacKay Wallace Sheehan
Roland Gauthier David Maynard William Sloan
Fred Graham Suzanne Mess Andrew Van Rassel
Dorothy Greenberg Margaret McMillan Shirley Walker
William Gregory George Nanos Gustav Weisman
Lesslie Harting Conrade Nelson Jack Whitfield
Patricia Harvie Allan Oddy Edward Yates
William Abbiss Douglas Goodfellow Arthur McGhie
Joseph Accette Thomas Gosson W. J. McKillop
David Aikenhead Barbara Greene Kenneth McMillan
Margaret Allport Doris Guse Constance McRae
Elsie Anderson Ronald Harris Frederick McNeely
Robert Ball W t illiam Hill William Newell
Russell Battram Joseph Hodgins Della Noble
Albert Baur Hugh Holmes Douglas Nolan
Joseph Beirnes Leonard Hope Raye Oesch
Fern Berenson Rupert Hopkins Gordon O'Rourke
Douglas Bilbrough Bruce Howard James Passmore
Marie Blais Leonard Huggard James Pearce
Reuben Blazer Charles Huke Pamela Pepler
James Boaz Thomas Janes John Rahkola
Allan Bowman Helen Johnston Roy Rice
James Bryant Toivo Kaski Charles Robinson
William Buckridge Huntley Keillor Edward Robinson
I\ w Campbell John Kidston Bruce Ri ppell
Frederick Carrigan Henri Kingdon John Russell
[da Chaloner George Konkle Ronald Scholes
Carlyle Chevalier Jack Krantzberg Dorothy Schmidt
Agnes Chinery Beatrice Lafreniere Joseph Shebk
Reta Clements Lillian Lafreniere William Sherwood
John ClIMER Kenneth Lindsay Arthur Simons
Norman Corke Donna Little Walter Slow
Arthur Corry Ronald Luetchford Elizabeth Smith
Thomas Cully John MacDowall Milton Smith
James Darby Donald Mackenzie Arthik Snelgrove
Charles Dawe Gordon Mackie John Solaruk
Rosamond de Camps Desmond Major Joan Sponagle
Blair Dodson Lorraine Margueratt David Stevenson
Kenneth Duncan Muriel Margueratt Gordon Swetman
Marilynn Dymond Edward Markham Elizabeth Tedman
Robert Easton Edward Matchun Ernest Tremblay
Douglas Farrell George Meadows Gordon Tyler
Joseph Fitzsimmons Thomas Merchant Javier Villada
Robert Forsythe Joan Michener Harry Wade
Robert Fraser Alexander Millar Margerita Wees
Fred Gale Francis Milne Frank Weir
Warren Gale John Moise Barbara Wilkes
George Gaston Donald McCormack Walter Wright
Dennis Gauthier Mary McDonald Norman Wynott
Mary Gerow Murray McDonald Lawrence Zammit
Scholarship — Mr. John Westren Scholarship — One Term Nancy Jamieson
Scholarship — O'Keefe's Scholarship — One Term Ruth McCracken
Scholarship — International Business Machines — One Term Mary Cane
Scholarship — Ontario College of Art — One Term Muriel Newton-White
Robert Annand William Gee Verna Jacques
Gary Filewod Gerard Garneau John Muir
William Clements Sidney Goldsmith Ruby Rogers
Drawing and Painting
David Anderson William Gee * Albert Palleck
Robert Annand Bernard McLoughlin Keith Scott
Arthur Alder Gerard Garneau Louis Hartley
Jack Birdsall John Green Karn Lewis
Gordon Clarke Sidney Goldsmith Beresford Mitchell
Herbert Ficht John Goodale John Mi ir
Garry Filewod Nancy Jamieson
Charles Sheldon- Williams
D ratting and Painting
Muriel Newton- White
Arm and Flint
Aktiii u A.LLERTON
S\\ll ESL DE RlNZY
Bernard Des Roches
j kan surget
.1 \( qi i.i. im. Worm] ei
Nicholas Rom w
Pottery and Textiles
Scholarship — Mr. R. S. McLaughlin Scholarship — One Term William Wells
Scholarship — Mrs. R. S. McLaughlin Scholarship — One Term Lois Draper
Scholarship — O'Keefe's Scholarship — One Term John Richmond
Scholarship — International Business Machines — One Term Eric de Luz
Scholarship — Mr. John Westren Scholarship — One Term Helen Parsons
Scholarship — Ontario College of Art Scholarship — One Term Felicia Rom\ sn\
William Da vies
Drawing and Painting
Eric de Luz
In terior A rch itecture
Robin W t hyte
Drawing and Painting
Albert La Bell John Sdn lath
Jane Fisher Joyce Roffey
Governor-General's Medal for Proficiency in Painting William Thomson
Lieutenant-Governor's Medal for Proficiency in sculpture William McKi.ciikhw
Ontario College of Art Medals:
For Proficiency in Painting John Taylor
For Proficiency in Interior Architecture Kathleen Johnson
For Proficiency in Commercial Art Marion MacRae
For Proficiency in Sculpture Ruthe Winkler
Canadian Art Laboratory Prize Frank Sebastiano
Drawing and Painting
Tommy Kakinuma Vernon Mould John Taylor
Archibald Logan Frank Sebastiano William Thomson
Drawing and Painting
Haydn Da vies
m \kgaret hovey
Sam N lrrol
Nelson D \\< >